ARRI News

It marks five years since ARRI's SkyPanel was released for the first time and changed the lighting industry forever. To celebrate, we collected the seven most unusual installations of SkyPanel that we have seen to date.

Shot with ALEXA Mini and supported by ARRI, “Tragic Jungle” premiered at the 77th Venice International Film Festival. In a video interview director Yulene Olaizola and cinematographer Sofía Oggioni talk about the challenges when filming on the border between Mexico and Belize.

Cinematographer Greig Fraser ACS, ASC takes us behind the scenes of Disney’s groundbreaking live-action Star Wars series “The Mandalorian.” He discusses shooting in-camera effects with ALEXA LF on the series, which is Emmy-nominated in 15 categories.

“How to Be a Good Wife,” a hit this summer in French cinemas, along with soon to be released “My Cousin”and“Waiting for Bojangels” were all captured with ALEXA LF and ARRI Signature Prime lenses. Cinematographer Guillaume Schiffman AFC explains his choice of tools which also included ARRI SkyPanel and ALEXA Mini LF. 

Cinematographer Keiko Nakahara speaks to ARRI about shooting the Bollywood biopic of Indian mathematics prodigy Shakuntala Devi with ALEXA LF and Signature Prime lenses. By opting for an HDE (High Density Encoding) workflow, developed by ARRI and Codex, the production reduced data costs by around 40% and made large-format fit its budget, while retaining full image quality.

Cinematographers Nancy Schreiber, ASC, and Richard J. Vialet split duties behind the camera for a show some are calling “brilliant.” We catch up with Schreiber to learn more about her experience, the inspiration for the show’s look and why it was important to hire a diverse crew.

While shooting his graduation film “Repetitivum,” film student Andreas Meichsner learned to appreciate working with the ARRI SkyPanel 360-C.

As a cinematographer and camera operator, Léglise was looking for tools that were robust yet lightweight. He wanted ease and flexibility without having to compromise on skin tone or color rendering. The AMIRA camera together with its ARRIRAW recording option and the ARRI Master Grips provided the support he needed in all conditions.

In a video interview, “Parasite” cinematographer Kyung-pyo Hong explains why sophisticated lighting was a vital instrument in the making of the film and how ARRI’s SkyPanel played a key role.

From independent films to international television productions, Paolo Carnera keeps coming back to the ALEXA camera system as well as lighting from ARRI. Whether it be the ALEXA Mini and ALEXA SXT with Master Prime lenses or the new ALEXA LF, Carnera has found a look that works.

Acclaimed lighting designer Brandon Stirling Baker shares his experience of lighting a true monument of modernism—Frank Lloyd Wright’s Solomon R. Guggenheim Museum. For this project, he chose 2 ARRI SkyPanel 360-C LED soft lights to create “a really beautiful, otherworldly experience.”

As a global organization, ARRI is recommitting to making a long-term impact to support people of color and to do our part in rooting out racism.